APRIL 1958 • 50c
MOSAICS Then and Now ATTEND
Mayco, CallfornTa Norman Kilns, New York THE GREATLAKES Dorothy LaFleur, New York Hart's, Carifornia Newell's, Californla CERAMICHOBBY EXHIBITION Mallory's California Madeline, Michigan Re-Ward, California Sfonebrook, New Jersey and WORKSHOP Bergen Brush Supplies, New Jersey Holland Mold Shop, New Jersey Joy Reid, Michigan April 24-25-26-27, 1958 Duncan, CaJifornia B. P. Woolsey, Pennsylvanla Amaco, Indiana Popular Ceramics, California Creek-Turn Pottery, New .Jersey Evanston Ceramics, Illinois Laurine Brock, Texas Arts & Crafts, Michigan Ceramics Monthly, Ohio Vernon Bernard, Illinois Marx Brush, New York Schoellkopf, Pennsylvan;a Woodland, Illinois Bell Ceramics, New York Illini Ceramics, Illinois Helen Ellioff, Texas Alberta's, CaTifornia Bee Basch, Florida Campana, Illinois Ceramic-Corner, Californla Ceramic Creations, illinois The Cusick's, Ohio Oare, Massachusetts Lee's T & V, Florida Pierce Tool, California Conrad Hilton, Chicago Radiant, New Jersey During the entire length of the show there will be demonstrations on all Kay the Patter, California phases of ceramics by these outstanding teachers. Tru-Fyre, California Marc Bellaire Barbara Yagen Richard Hyman Cula Kolb Stangren Zelda Burdick Edna Ferry Jenness Virginia Lee A1 Schoellkopf Christine, California Justin Brady Dorothy La Fleur Eileen Kane David Owens Madeline Pemberton-Neal, California Ella Coombs Lorraine Hensley Lillian Kappeler Isabel Podezwa Strackbein Phyliss Cusiek Alice Hill John Kenny Dodie Raskin Charles West Ceramichrome, California Lillian Czagany N. Hopkins Kay Kinney Joy Reid Belva Woolsey Chula Kolb, Texas Edris Eckhardt Zena Holst Herman Kleiner Juan Jose Segura Lorraine, California General Admission 90c. Registration for Wholesale Buyers $5.00. (includes show pass) American Beauty Ceramics, Ohio Hours: Thursday thru Saturday Sunday: National Artcraft Jewelry, Ohio ll:00A.M, to I:00P.M. ll:00A.M, to 12:30 P.M. Registered lFholesale Buyer,~ Registered Wholesale Buyers Zelbur, New Jersey I:00P.M. to5:30P.M. 12:30 P.M. to 6:00 P.M. Paasche Air Brush, IIITnois General Public General Public 7:00 P.M. to 10:00 P.M. Starala, North Dakota General Public Ceramic Studio Workshop, Pennsylvania Check this list of exhibitors for the show--it's a record breaker! [--~ Tylart, Michigan Remember the open Hobby Competition. Display your own creative work. Write H & R, Illinois for details. White Horse Mold, New Jersey lVant to [orget travel worries? Attend the Show with a group. Write to Mrs. LaVerne Wood, 13885 McDougall, Detroit 12, Mich. Creative Designs by Jenness, Calif. ARTHUR HIGGS, MANAGING DIRECTOR 414 N. Jefferson, Bay City, Michigan I Phone: TW3-9492 NEW Products from Re-Ward Set the Pace in "58.1
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APRIL T958 I UL APPROVED FOR YOUR PROTECTION Ask your local Electric Company or Fire Insurance Company about the importance of UL approval on any electric appliance. Others claim that wire and switches are UL approved, but their kilns are not! TOP LOADERS 20 quality built, feature packed models from which to choose. DYNAKILNS feature the patented DYNA- GLOW porcelain element holders... 4-way switches ...2 peep holes.., pilot lights.., and they are designed with your safety in mind. MODEL U15H
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CHESTER 11, PENNA. D EALER INQUIRIES INVITED 2 CERAMICS MONTHLY |st STEP TO BETTER
Volume 6, Number 4 April • 1958 ENAMELING 50 cents per copy
in this issue of
On Our Cover: Detail of Alexander the Great taken from a mosaic floor depicting the defeat of the Persian King Darius at the Battle of Issus. This piece clearly shows how the Greeks imitated painting techniques by pJacing the fesserae close together like painter's brush strokes. Doting back to 100 B.C., this mosaic is on display in the Naples Museum. Photo: Courtesy of "The World of Mosaic."
Letters ...... 4 THOMPSON
Pic of the Month ...... 6 ENAMELS& MATERIALS Itinerary ...... 8 for Teachers, Professionals, Answers to Questions ...... 9 Hobbyists end Students Suggestions ...... 10 TCT Enamels assure best results . . . because they give you SPECIAL FEATURE! Mosaics: Then and Now by Lawrence A. Hatch ...... 12 greater: Uniformity of enamel a Brilliance of color u Dependability in use • Choice of many colors • Beauty of finish Fingers for Decorating by Henry Bollman ...... 18
Pottery from Blocks of Clay by Edris Eckhardt ...... 21 Everyone appreciates the better results, the improved Stoneware: Stoneware Clay Bodies (part 5) workmanship, the beautiful pieces you get with TCT by F. Carlton Ball ...... 25 Enamels. For 65 years, we have emphasized QUALITY, Enameling: Silver Plated Steel by Nelly Allan ...... 26 VALUE and SERVICE to enamelers . . . now offer over 150 shades of enamel colors in lump and powder plus, Underglaze: Effective Printing demonstrated by Marc Bellalre ...... 28 opalescent, crackle, glaze paint, separation enamel, threads, liquid gold. Enameler's Column by Ka÷he Berl ...... 31
Ceram-Activities ...... 33
Index to Advertisers ...... 36
Editor Louis G. Farber N E W for Glass Decorators Business Manager Spencer L. Davis Managing Editor Shirley Abrahamson We offer a full line of Ice Colors for firing on glass. Write Art Director Robert L. Creager Editorial Associates Thomas Sellers for complete information. Mary Elliott Cireuhttion Thana Clay We Also Supply: /~/~ Advisers and Special Contributors: Carlton Atherton; F. Carlton Ball; Marc Bellaire; Kathe Berl; Edris Eckhardt : John Kenny: Zena Kilns Trivets Hoist; Dorothy Perkins; Ken Smith; Don Wood. Findings Enamel Threads Write for Metal Shapes Copper Wire FREE Ceramics Monthly is published each month at the Lawhead Press, Inc., Athens, Ohio, by Professional Publications, Inc., S. L. Davis, Chains Silver Foil CATALOG Pres. and Treas. ; L. G. Farber, V. Pres. : P. S. Emery, Secy. Frames SUBSCRIPTION PRICE in U.S.A. and Possessions: one year, $5; two years, 9; three years, $12. Canada and Pan Am. add 50 cents a year; foreign, add $1 a year. Current issues, 50c; back issues, 60c. ALL CORRESPONDENCE (advertising, subscriptions, editorial) should be sent to the editorial offices at 4175 N. High St., Columbus 14, Ohio. Entered as second-class matter aL the post office at Athens, Ohio, as granted under Authority of the Act of March 3, 1879. Copyright 1958 by Professional Publications, lne. All rights reserved. evolve. In this case, what at first may SOURCE FOR HANDLES appear like child's play or a series of Dear Editor : errors, not pots, may eventually he our I have had very satisfactory reed and modern pot. bamboo handles (January) from the fol- MRS. O. B. HoboEs, JR. lowing supplier: J. Toquri Mercantile Co., 1124-1128 North Clark St., Chicago 10, Williamsport, Pa. Ill. n. PATTEN Gallatin Gateway, Mont. ROTHMAN POSES PUZZLE ENAMELING CONVERT Dear Editor: Dear Editor: GEOMETRIC APPROACH I am completely puzzled by the article Recently after thoroughly digesting your copper enameling articles from A to Z Dear Editor : in the February 1958 issue by Mr. Jerry I think correspondent M.C.S. (January), Rothman. Is it intended for humor? If so, (I have all your copies) -- and loving who is interested in design from a geo- I am afraid I find Mr. Rothman's humor Bates, Berle, Kretsinger, Harrison, Rebert metric or naturalistic approach, would en- as heavy as his hand with clay. -- I am highly inspired. I had never joy "Adventure in Geometry" by Anthony If Mr. Rothman and his associates truly looked at the enameling articles before-- Ravielli, noted illustrator of medical books and articles. and seriously feel they are expressing "an couldn't afford to because I was too busy MARION NOBLE age of expanding research and experiment with porcelain. Now I am beating the bushes looking for .003 shim copper and Alliance Public Library into heretofore unknown reahns," I feel Alliance, Ohio for them only pity, that their vision of the wire and copper sheet (I don't know what gauge to buy and want to "feel the future should be so tortured. HIGH SCHOOLERS ENTHUSIASTIC Recently I have been so fortunate as goods!") and mica, glass and all this Dear Editor: to have the loan of a complete file of your fabulous stuff . . . MRS. R. G. ANTLE I feel that I have been remiss in never magazine. It is interesting, instructive-- before thanking you for the guidance and Saginau, Mich. and often provocative. But this article has inspiration contained in CERAMICS provoked me into renewing for one year MONTHLY. My high-school students en- only, instead of the three I had intended. SAID AND DONE joy and follow your "how-to" pages with enthusiasm. MRS. W. D. MORRISON Dear Editor: Owensboro, Ky. BERTHA WHEELOCK • . . For a while, all you read in CM DuBols, Pa. was about Peter Voulkos; but thank good- Dear Editor: ness [everyone has had] his say. Anyone I am not at all sure that I like the knowing Peter would know he wouldn't This column is for CM readers. It's works of Rothman, Soldner and Mason, give a mention to his wife, much less open to everyone who has something to but I am glad you have presented them a prize, unless he felt it was deserving. say--be it quip, query, comment or ad- and hope you will give us more of the new I think he's great. This thing of same vice. All letters must be signed; trends and works by today's potters. We old pots by well-known eeramists, it is names will be withheld on request. read that we must make our own tradition refreshing to see something else . . . Just address your letter to: The in crafts and I feel that it is through men ALTA B. ANDRE Editor, Ceramics Monthly, 4175 North High St., Columbus 14, Ohio.--Ed. of this caliber that such a thing can Bellflower, Calif.
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CERAMICHROME'S prepared water soluble underglazes $1.00 Postpaid and glozes will meet your school budget. INSIST ON THE FINEST. Ask for and use Ceramichrome Colors. Free Catalog-- "Amaco Pottery Supplies & Equipment, Visit Our Booths At All Ceramic Hobby Shows Metal Enameling Materials". Lists Kilns, Wheels, Clays, Decorating Colors, Ceramic Supplies. CERAMICHROME LABORATORIES Write Ceramic Department Manufacturers of Ceramichrome Products 2111 W. Slauson Los Angeles 47, Calif. AMERICAN ART CLAY COMPANY INDIANAPOLIS 24 INDIANA
APRIL, 1958 5 c~ :> CM's Pic of the Month: Prize-winning stoneware bowl by ovedaps occur. The inside of the bowl has a freeiy brushed fish which, KarJ Martz, Bloomington, ind., won the Award of Merit in the recent in the three shades of gray, has an elusive, shadow-like quality. Mr. Fiber, Clay and Metal competition sponsored by the Saint Paul Mortz, who teaches ceramic arl- at Indiana University, enioys this o method of decorating because of the unexpected, but often pleasing, Z (Minn.) Gallery and School of Art. Five inches in diameter, the bowl --t "1- is decorated with free brush work in soluble nickel and chromium. shape relationships that develop from overlapping. The glaze is a This produces two shades of gray and a third, darker shade, where white matt. HESITATION mmmmmmmmmmmmm new ~VIA YCO GLAZES which give you unlimited possibilities for interesting exotic ceramics.
HESITATION is applied over other brush-o• glazes includi•g clear glaze on under- glaze colors. The HESITATION on firi•g cracks and separates into fascinati•g patterns which reveals the u•derlyi•g glaze. Many color combi•ations are possible with only a few colored HESITATION GLAZES. Comes in Black and White as well as light Green, Sky Blue, Golden and Brown.
Dealerships available. See your nearest MAYCO Distributor 4 oz. jar 7Sc
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SO MANY Tile TABLES and Murals t WAYS TO DECORATE
A--Mold #71--Plain long Free- ;~ ;,:++ Iorm--$S.7S--ior your own dec- oration--121/2 " x 61/4 " x 11/4 " B--Mold :~7lA--Celery long Free- form--$6.50 Designed specially for above mold :~71 ~~~:~ C--Podeszwa Pattern 71P-3, Happy Clown--25c • We carry everything for mosaic work. Imported Italian and" Come see us at the m French mosaic tiles and tessarrae, brass and wrought iron II D--Podeszwa Pattern 71P-2, g Sad Clown--25c Eastern Ceramic table frames, legs, mastics, tools and grout. Wood Legs I Show-Center Booth, i Wrought Iron Table Frames Brass Finish (Brass Tippedj no]" shown: Center Aisle. We're Legs--set of 4 set of 4 71P-I War Pony--25c I I Rectangular I Circular I 6"____ 6.95 6"_--- 3.95 I 71P-4 Angel--2Sc coming up from Flor- m 112~x12½ 1 5.50 L 18- dis. I 7.501 11" .... 8.95 12" .... 4,50 71P-5 Seaweed--25c ida with more New 118~,~x18½ I 8.50 I 24- dis. I 9.~'0[ 14" .... 9.95 16" .... 5.50 I ideos & Molds. I 118a~x48½ I 19.95 I 30" dis. I 12,50[ 16" .... 11.95 Z2" .... 6.50 i Send for Free Contest Entry Form I I 36" dia. I 13.501 22" .... 12.95 28" .... 7.50 Send 25c for illustrated catalogs I TILES ...... $1.45 per sheet and up (approx. I on. ft.) i i SOLID BRASS I" STRIP ...... 7Oc ft., drilled w/screw SPECIAL CUTTERS ...... $1.50-$2.45 each • All molds tc) Bee FOB Sara. MOSAIC MASTIC ...... 95e tube, $1.35 pint, $2.25 quart i MOSAIC TILE GROUT ...... 40e lb." mE, 50c mirnmum. Podeszwa Patterns add 25c per order for packing and postage. ~o COD's, please. !' illini 1"4 r?l m r4 service'! Mail Address--70 S. Englewood Beach Rd., Englewood, Fla. "~.,UALITT CERAMIC SUPPLIES" m 439 N. Wells, Chicago 10, IlL Phone MI 2-3367 I Factory & Showroom--2124 Bee Ridge Rd., Sarasota, Fla. E=mm I m m m m m m m m m ...... J.
APRILc 1958 7 Art. Open to residents of specified area Hobby Show at the Kansas National and to former residents of Toledo. Ce- Guard Armory, 620 No. Edgemoor. Com- ramies, enamels, sculpture and any other mercial exhibits, hobby competition, and recognized art media included. Deadline demonstrations. for entries: April 12. Jury, prizes. Fee: $3. Write to Toledo Museum for pro- MASSAGHUSETTS~ WORCESTER spectus. April 11-May 11 TEXAS, AUSTIN An exhibit of work by instructors at the Send show announcements early--WHERE Craft Center of Worcester, to be held TO SHOW: three months ahead of entry May 5-June 3 at the Worcester Art Museum. Persons date; WHERE TO GO: at least six weeks Spring Exhibition of the Texas Fine Arts represented in the exhibit are Verdelle before opening. Association at Laguna Gloria Art Gal- Gray, ceramics; William J. Brown, de- lery. Open to members. Crafts included WHERE TO SHOW sign and block printing; Anthony La in media. Fee: $3.50 membership dues. Rocco, woodworking; and Alden Wood, COLORADO~ DENVER Jury, prizes. Entries due April 20. For metalsmithing. July 9-September 7 details, write Texas Fine Arts Assn., P.O. Box 5023, Austin 31. MINNESOTA~ MINNEAPOLIS The 64th Annual Exhibition, sponsored by the Denver Art Museum, open to all WHERE TO GO April 20-May 11 artists in states west of the Mississippi "Finnish Crafts," a Smithsonian Institu- as well as those residing in Wisconsin FLORIDA, CORAL GABLES tion Traveling Exhibition, at the Walker and Illinois. Sculpture and ceramics in- through April 20 Art Center. eluded in media. Jury, $2,000 in prizes. "Sixth Annual Miami National Ceramic Fee: $2. Limit of two entries per artist. Exhibition," sponsored by the Ceramic NEW YORK, NEW YORK Deadline for shipments: June 12. For League of Miami, at the Joe and Emily April 15-26 entry blanks, write Denver Art Museum, Lowe Art Gallery, University of Miami. "Ceramics '58" an exhibition of pottery West 14th Ave. and Acoma St., Den- and sculpture sponsored by the Green- ver 4. ILLINOIS~ DEKALB wich House Potters, at the Greenwich NEW YORK, DOUGLASTON April 1-22 House Pottery School, 16 Jones St. May 17-31 "American Jewelry and Related Ob- jects," a Smithsonian Institution Travel- OHIO, COLUMBUS ~The 28th Annual Spring Exhibition of ing Exhibition. at the Parson Library, April 19-May 20 the Art League of Long Island. Ceram- Northern Illinois State College. ics and sculpture included in media. The l lth Annual Exhibitiml of Contem- porary Crafts, an invitational show of Jury, prizes. Fee: $5. Entry cards and KANSAS, WIGHITA work due April 25-26. For details, write Ohio craftsmen, sponsored by the Beaux Edith Brandenberg, chairman, Art April 12-May 19 Arts Club at the Columbus Gallery of League of Long Island, Inc. 44-21 "Thirteenth Decorative Arts-Ceramic Ex- Fine Arts. Douglaston Pkwy., Douglaston, L. I. hibition," at the Wichita Art Associa- tion, 401 North Belmont Ave. TENNESSEE~ MEMPHIS OHIO~ TOLEDO April 1-22 May 4-25 KANSAS, WICHITA "Midwest Designer-Craftsmen," under The 40th Annual Exhibition of Toledo April 18-20 the auspices of the Smithsonian Institu- Area Artists at the Toledo Museum of The Annual Wichita Ceramic Art Society tion, at Brooks Memorial Art Gallery.
Tmm MAKE YOUR OWN SWEATER GUARDS! Sensational new fashion accessory that is sweeping the country! Complete gold-plated sets now available... simply cement on your personal decorated ceramic or enameled piece to make a custom fashion accessory that will be both decorative and practical. Nice for gifts, too! EACH SET COMPLETE WITH PEARL CHAIN... TWO SPRING CLIPS WITH PADS OR BEZELS I.SG-3 %" Plain Pad ...... 35c set 2. $G-54 s/d'x 1 ~" oblong bezel setting 1 ~ for Porcelain or Copper Blank ...... 45c sel " ~ 3. SG-53 3/~"x 11,4" oval bezel setting ...... 45c set Yl 4. $G-57 l"x 1¼" oval bezel setting r | (for Porcelain or Bisque inserts only) ...... 55c set "~ ~ 5.SG-12 1¼" Alligator Clips...... 45c set VJ I 6.$G-13 x,,'e"Alligator Clips ...... 35c set v ~ I INSERTS--AnyPorcelain Blanks (specify size) 10c ea. ~ BisqueBlanks ...... 05c eo. ~ Copper for #54 ...... 06c ea. ~'~-~1 ~"~,=~1~ Copper for #52 ...... O7c ea. (,~]o~/..c~,~ JEWELER'SADHESIVE .... 35c per tube • ~ ~ ~~~"-e sweater guards DEALER DISCOUNTS AVAILABLE ~__.j~l~j~mw.-~ _ _ _ may also be ordered New Giant 112-Page Catalog for ,~ ~- with plain gold-plated chain JEWELRY and ENAMELING... 25¢ IIIIIIIIIIIIIIIIIBERGEN ARTS & CRAFTS 300 S.W. 17th AVE.. MIAMI • FLA.. (Dept.CM4) Illllllll
CERAMICS MONTHLY r eec
"" Harrop ElectriKiln ii i uestlons "Hi-Fire" top-loading Q Can ceramic overglazes or china paints be fired on ELECTRIKILN milk glass? At what te~lperature should the milk glass be fired? We are ~lsing Bavarian blanks.
Milk glass can be fired to cone 022 (1085°F.) and no higher. The overglaze colors which are used for china painting cannot be used on glass because they do not con- tain sufficient flux to anneal and mature at the low tempera- ture required for glass. Buy overglaze colors that are made specifically for glass painting. Study my articles on glass decorating in Model HTL-16 the May, November and December 1955, issues of CM. In- for Cone 8 structions and rules apply to milk glass the same as other (2300 ° F.) types of glassware.--ZENn HOLST $201.25 f.o.b. Columbus Can yote tell me how I can get a bright red, near t'ermilion? I have tried underglaze reds, special bright red Crating glazes, r~tby, carmine a~d crimson, special high and low $12 fire glazes and the best "red" I can get is a maroon or Pyrometer brown. If I fire the glaze at cone 06, the red burns out, $28.75 son~etimes it disappears entirely. If I fire at cone 010 or 012, the red will be good, but the glaze will be dull and flat. I am making tiles and mosaics fox table tops and Econo~ can get all colors but reds. Electri power costs. Extra-long-life elements in There are no brilliant red underglaze colors available. recessed grooves mean easier replacement, It is perfectly possible, however, to obtain the red color no loose staples. Many sizes. you are seeking in an enamel for glass or with an over- glaze color. Several suppliers have good glazes as high as cone 08-06.--KEN SMITtI
QWhy does the enan~el o~ my trays run off the edges, exposing the bare copper?
You probably overfire your trays. Besides, your layer of enamel could be too heavy.--KATHE BERL
Q We are contemplating using a pattern of glazed 6" x 6" x 1/~,, tiles as the floor of a sheltered, but not enclosed, entrance to our new home. Can you tell us if the tiles should be laid in concrete, and how thick should it be? Or should they be laid on a wood base with adhesive and the spaces filled with grout similar to that used for mosaics ? We would be reluctant to use 6" x 6" x 14,, tiles as a flooring material. These are not very hard-fired, and they will not take much wear or general punishment. The small- er the surface area of the tile, the thicker it is, and the w f wvl~g~l~l ~w~f harder the firing, the more applicable it will be for this Variety of sizes and temperatures, bench and type of use. floor models. All wiring and switches ap- But to answer your question directly, cement will be proved by Underwriters' Laboratory, as in the best way to set the tiles. This will give maximum hold- every ElectriKiln model. ing power and support. For details on the type of cement mix, thickness, base surface, etc., visit your local "bath- II Illl Illl Ilia n I ~1 n Nil alml~ n i lIB aim ill i n iim ii room" tile shop or tile setter. They will no doubt be able Glazes and Underglazes, clays, to give you a few good pointers.--CM STAFF plaster, kiln furniture and supplies
All subscriber inquiries are given individual attention at CM; and, WRITE FOR FREE CATALOG out of the many received, those of general interest are selected ElectriKiln Division of for answer in thls column. Direct your inquiries to the Questions Editor: please enclose a stamped self-addressed envelope. CERAMIC SERVICE CO. Dept. E, 3470 E. FIFTH AVE., COLUMBUS 19, OHIO
APRIL, 1958 9 from our readers
For Securing Glass Threads Beginners in copper enameling often like to make de- signs with glass threads and frit, but find that these small pieces move about after being placed in the kiln. Here is a remedy that we have tested thoroughly. Use Tester's cement (either fast or extra fast) and cement the pieces onto the enameled surface. The cement burns away in the kiln, leaving the design in the proper place. The cement SALAD DISH also is useful for replacing chips that have broken away TO MATCH H-178 from a finished piece. The cement holds them in place while retiring. Tester's is the only cement we have used, but other H-797, $4.50 brands probably would work as well. (8"x 71/4" } --Mrs. Carl F. Waetck, Syracuse, N. Y.
[] Protective Tabs for Pots OTHER NEW MOLDS • Protective tabs for the bottom of pottery can be punch- H-793 Lilly Brooch & Earring $ 2.90 ed from rubber inner tubes, leather, felt plastic and other H-794 Rainbow Trout $10.00 materials by using a paper punch. Put a spot of glue on H-49S Large Vani~ry Tray $ 5.50 H-798 Chick Bank or Planter $ 6.00 I
the pot where the tab should go. Wait a few seconds, then press the tab in place. I make a supply of tabs in different sizes and shapes and keep them on hand, together with a tube of water-resistant glue. --Gerald L. Halbett, Topeka, Ka~.
Potter's Cutting Tool Here is a simple way to make a useful tool for trim- ming the edge of a piece made on the potter's wheel, while the wheel is in motion. Take a short piece of wood from the handle of an artist's paint brush, and make a hole in the center of the widest part. Insert a threaded darning needle after putting
~.. ~..~.:~ ~. :~., ~.~,: :~. . .:,,.:
a little glue into the hole and also on the eye of the threaded needle. To make the needle secure, wind the rest of the thread around the handle and fasten with additional glue. Let it dry, and the tool is ready to use. --Sister Louis-Alphonse, Montreal, Canadrt TWO TEXTURES TWO COLORS FOR ONE COAT ONE FIRE I?= EXQUISITE COMBINATIONS OF FLEECY WHITE AND COLOR AQUAMARINE • BRIARWOOD • CHRISTMAS ROSE • CORAL Flower Cutters FOREST GREEN • HARVEST YELLOW • HELIOTROPE • ONYX Mr. Bollman's article, "Pierced Ware Goes Modern," PETAL PINK • SMOKE • SNOWFALL • SPRING GREEN (Oct. 1957) brought to mind some of my experiments in YOU'LL BE A SUCCESS WITH DUET! ORDER NOW[ making flower cutters. I was asked to make eight-petaled ~-LARGE 2oz. JARS ~~9~_ roses surrounded by five leaves, to top heart-shaped boxes. ADD 35c HANDLING CHARGE NO COD'S OHIO RESIDENTS ADD 3% TAX General instructions were given to me and I was asked to make petal cutters in two sizes as well as leaf cutters. I wasn't too clever at making straight cuts with tin snips, so I used cans that are opened with keys. I removed the can top, cut down the seam and around the bottom 2811 WOODBURN AVE. CINCI;NNATI 6. OHIO ...... (Continued on page 30)
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APRIL, 1958 11 M Mr~ Hatch, o[ the Department o[ Visual Communication o[ the University o[ Cali[ornia, Los Angeles, compiled the material presented in this article [rom the [ilm, "The World ol Mosaic," just released by the University Extension. 0 The photographs accompanying the article, also [rom the [ilm, brie[ly suggests its scope: A review o[ the major aspects oI mosaic art lrom its early beginnings to the present. For additional S in[ormation, see the "Ceram-Activities'" section. ... THEN ANA A I
£ :4
£ S 0 MOSAIC TABLE, designed and made by Sylvia Rosenthal under the guidance ol Los Angeles mosalcM, George Millar, is a contemporary example o[ an age- old art. EMPRESS THEODORA (apposite page), is an early Byzantine mosaio VOW wh~ch was made about $47 A,O.
by LAWRENCE A. HATCH
CONTEMPORARY DESIGNERS, architects, interior and baths were covered with mosaic designs, arranged decorators and craftsmen looking for a new art medium in geometric patterns ranging outward from a central to relate art to architecture, have turned to mosaics. These medallion, which usually contained a scene of the pagan colorful ceramic and glass tiles--known as tesserae--are gods. It is said that during festive occasions, when a strong and durable as well as beautiful. And, because guest could no longer make out the symbol nearest him, they are resistant to weather, they can be used to beautify the time had come for him to leave the party . . . usually both exterior and interior surfaces. However, this "new" supported or carried by his friends. medium is anything but new. This colorful art spans The Romans left a multitude of floor mosaics in some 5,000 years or more of man's history. One finds Italy, north Africa, Syria, France, Germany and even on tracing the history of mosaics, that it is as fascinating England. However, they did not confine all of their mo- as watching an artist create an intricate mosaic mural. saic works to floor pieces. Records indicate that they The Egyptians appear to be among the first to in- used mosaics on walls of important buildings. tegrate mosaics into their art. Some of their earliest met- In approximately the sixth century A. D., a new hods consisted of inserting colored glass and earthen- form of mosaic art began to take shape. Opposing the in- ware into sinkages in tile or stone columns as well as tricate detail of earlier mosaic endeavor, the Byzantine walls. Predominant designs of these early mosaics were era saw the emergence of a separate concept of mosaic ornamental in character. execution. In this period mosaicists abandoned the fine- Like the builder and architect of our own time, ly executed work of earlier periods, which at times re- artisans of the past were apparently impressed with the sembled paintings, in favor of more crude and broad utilitarian qualities of mosaic. The earliest known use of execution of design. the medium was as pavement and the lining in water As mosaics began to evolve into cruder forms, pre- cisterns. Then small designs and crude pictures were cluding mere imitation of design, a new kind of tesserae worked out. Remnant examples showing early Sumerian came into use. These were gold tesserae, the production war scenes date back more than 1,000 years before Christ. of which consisted of placing gold leaf between two lay- Turning to the Greeks and Romans, we find much ers of glass. Good examples of Byzantine mosaic are to evidence of mosaic at a high level of achievement. In be found in the mosaic work in the Triumphal Arch and Pompeii, some of the finest examples of floor mosaic are apse of St. Vitale at Ravenna. to be found, dating as early as 200 B. C. Some of the most outstanding work of the Italian Skills developed by Greek mosaicists were passed on Byzantine mosaicists is to be found in the half-dome mo- to the Romans. The floors of sumptuous Roman villas (Please turn the page)
APRIL, ]958 ]3 ... MOSAICS
1. Joseph L. Young, a Los Angeles mosalcist, 2. A full-scale sketch for the six-ton mural 3. Before the individual tessera are glued makes drawings, to scale, for his mural for next is drawn on cartoon paper. This is the to the cartoon paper, Mr. Young cuts the {'he Police Facilities Building. second step when using the indirect method. large sketch into small sections.
saics of the apses of Roman basilicas. Beginning with these early traditions have come such contemporary mas- the middle part of the thirteenth century, Byzantine mo- ters as Juan O'Gmanan, Carlos Merida, Diego Rivera and saic began to decline until all traces of it disappeared. Chavez Morado . . . the men whose work in mosaic on One of the major factors responsible was the emergence the buildings of Mexico's University City has earned them of the great Italian mural painters. However, in Con- international fame. stantinople as well as in Greece, mosaics continued to Modern day mosaic artists employ one of two gen- be used for church ornamentation until the fall of Con- eral methods in making mosaics. In the first method, the stantinople. tesserae are carefully put in place on the surface to be It seems something of a contradiction that, with the decorated. The second and more common method is for advent of the Renaissance period, the art of mosaic the artist first to draw on paper the general outline of the should all but disappear. Titian did employ some mosaic finished mosaic. The surface that he uses for this outline work in St. Mark's at Venice but for the most part it is actually the reverse side of the mosaic. was used mainly as an imitation of painting. When the drawing is completed and the color scheme Although mosaic art seemed to die out during the determined the artist cuts the paper into small individual Renaissance in Europe, it continued to flourish indepen- sections which can be handled with ease. Then he be- dently among the Aztecs of Mexico. Their ceremonial gins the painstaking task of gluing each individual tes- pieces and sacred structures were covered with precious sera into place on the heavy paper called cartoon pa- turquoise, quartz, obsidian and mother of pearl. Out of (Text continued on pace 17)
4. A steady hand is a must for the delicate 5. Mr. Young glues the glass tesserae to a job of cutting the tessera. He uses a tradi- section of cartoon paper. Notice how he tional mosaic hammer for the job. provides bins for each color.
14 CERAMICS MONTHLY ~,.~: ~ N ~
THE FINISHED MURAL which provides a division wall in the Los Angeles Police Facilities Building is suspended from columns to provide eye-level viewing. It took Mr. Young two years 'to complete the :36~ x 6' mural.
6. The pa~ially completed mural is spread 7. Mr. Young achieves a feeling of waves out on a table in Mr. Young's workshop. in the placement of the tiles, as shown in Notice the detailed cartoon sections. this close-up view of the mural.
APRIL~ 19S8 . .: ]S CONTEMPORARY ARCHITECTURE employs the use of mosaic murals on the outside of buildings as well as the inside. Above is a section of mosaic on one of the buildings of the University of Mexico. Modern mosaics omit much of the intricate detail that was common in the early mosaics. Notice the detail in the dome of the Mausoleum of Galla Placidia (below) in Ravenna, Italy. This is an example of 5th century mosaic. Opposite is one of the rock-mosaic murals covering the University of Mexico Library. Executed by Juan O'Gorman, murals like these cover an acre of exterior walls of the library at University City, Mexico.
] 6 CERAM ICS MONTH LY ... MOSAICS Mexico and are alive with brilliant colors. O'Gorman worked with slabs one meter square, 4,000 in all, to achieve his monumental mosaic masterpiece. Joseph L. Young, the mosaic artist featured in the per). The various sections now are reassembled on the film, The World o[ Mosaic, has completed several major prepared surface, such as a wall, and held fast with ce- mosaic commissions which show an extraordinary degree ment. The tesserae are pressed into the cement while the of achievement in this art medium. Mr. Young studied front of them still is glued to the cartoon paper. After a in Rome as well as in several American schools. The relatively short period, during which time the cement creation of one of his finest mosaics, the beautiful mural has hardened sufficiently, the heavy cartoon paper is in the main lobby of the Los Angeles Police Facilities stripped of the face of the tesserae, revealing the com- Building, is traced in the film from the first rough pleted mosaic. The joints are filled with cement and the sketches on cartoon paper to the hand cutting of the entire mosaic surface is cleaned. tesserae and final installation. The gigantic mosaic mural There are many contemporary artists worthy of was divided into many panels which were numbered and mention. Charles Schlein, although not primarily a mo- then assembled to form one huge mural mosaic of strik- saic artist, has combined the art of mosaic with that of ing quality. wood sculpture. Measuring six feet high and 36 feet long, this six-ton Perhaps one of the best known contemporary mo- work of mosaic art is the world's largest glass mosaic saicists of this century is Gino Severini. Shortly after mural ever to be executed by an American artist. Mr. the turn of the centu~', Severini journeyed to Paris Young spent two years of concentrated effort to bring where he painted alongside other notables such as Picas- his work to fruition. This mosaic mural is the first to so, and Utrillo. Some of his mosaic masterpieces can be depart from conventional installation in wall or floor. found in churches in Semsales, La Roche, Fribourg, and By suspending the six-ton mosaic between two supporting Lausanne. He has produced a number of other outstand- columns, an attempt is made to provide eye-level viewing. ing mosaics in public buildings in Italy and France. Se- Although this article illustrates Joseph Young's meth- verini believes that mosaic art will be instrumental in od for making a massive mural, hobbyists can use the bringing back order, clarity and purity to art. identical technique for making table tops, wall plaques Another great contemporary mosaicist is Juan O'Gor- and numerous other smaller mosaic projects. With mo- man. Among his most outstanding work is his contribu- saics becoming more and more popular in the home, tion in designing and executing the massive mosaics cov- and with mosaic supplies now easily available, hobbyists ering an acre of exterior walls of the library at Univer- can take full advantage of this colorful and durable medi- sity City, Mexico. His murals depict the rich history of um. •
APRIL, 1958 17 rOng a favorite with
youngsters,
finger-painting
techniques a/so
can be used
for decorating
green or fired
ware using
ceramic co~ors INGERS
Here's How To Do It
by HENRY BOLLMAN
I. Using o camel hair brush and black over- 2. !'Finger painting is funl" After glaze, Poochie covers the entire glazed surface trying several designs, she arrives at with an even coat of color. one she likes.
18 CERAMICS MONTHLY HEN THE CERAMICS teacher asked how Finger painting on green ware would have to be W many of the children knew how to finger paint, a done soon after the piece was fashioned while it is still dozen hands shot up in the air including Poochie's. quite wet, but firm enough to hold its shape. Cast ware, Her real name is Laura, but when she was very young for example, would have to be used soon after it is (which wasn't long ago) they called her Poochie for no removed from the mold. You can easily see why this is reason at all. But it seemed just fight at the time. Now not the best method for children since green, cast ware that she is in the third grade, it doesn't seem quite digni- is fragile at best. If green ware is to be used, it will be fied enough--but why sacrifice charm to dignity? wise to stay with the rather heavily constructed types. Anyway, Poochie was chosen to demonstrate the Bisque also has a dry, porous surface; but here technique of decorating which employs ceramic colors there is no problem. Just soak the piece in water for at and finger-painting techniques. This technique lends it- least 15 minutes (or overnight), until it absorbs as much self very nicely to some kinds of pottery decoration. It water as possible. (Since the piece has been fired, there allows a freedom which is unattainable in any other way; is no danger of getting it too wet or weakening it.) and moreover, it has a very individual quality because no Then you can proceed with the underglaze or engobe two hands are alike. Finger painting, long a favorite of just as you would with tempera paints on paper. How- youngsters, is one of the most direct and personal forms ever, children cannot dawdle too long because the piece of pictorial expression. No brush or tool stands between will dry out. But finger painting is supposed to be a the painter and his work. However--as all finger painters fast technique, so this should not be a problem. In fact, know--a rag, sponge or brush sometimes is used to supple- it will help extract a spontaneous design from the child. ment the fingers. When working with green ware or bisque, add any There are three types of ceramic colors best-suited colorant to ordinary casting slip to make an engobe for for finger painting on pottery: Underglazes, engobes and the finger painting. The colorant can be either a liquid overglaze. Overglaze (china paint) is the most suitable or in a dry, powder form. For example, you can use type for children. It is applied to a fired, glazed surface liquid underglaze--either the "regular" or "one-stroke"- so, if the child isn't pleased with the results, the piece or powdered underglaze, glaze stain, body stain or any of can be wiped off as easily as the breakfast dishes. The the coloring oxides such as cobalt oxide, manganese, child then may begin again--immediately. etc. With the latter, the color will be stronger and may Prepared underglazes and engobes also can be used, produce speckled effects if not carefully mixed. but of course, not on a glazed and fired surface. They Here's the way I make an engobe for finger paint- can be used on green ware or bisque, but not if the ing. Mix a half teaspoonful of engobe stain, or other ware is dry. Since it is very porous when dry, the piece colorant, with two tablespoons of white casting slip. Grind would absorb the water from the color, drying it im- thoroughly with mortar and pestle or with a spatula on mediately and making finger painting impossible. (Please turn the page) FOR DECORATING
ii ¸¸'¸¸ ...... i i!i! i i C)! i i!! i ~i i i! ~ i~ i li ~i~ !:il/i!iiiill i i:ii ~ ..... : ~m 3. Poochie decides to carry out the 4. Not pleased with the application, Poochie 5. Pleased as punch with her results, Poochie same motif on a bowl. First, she covers shows no concern ms she "erases" her boo-boo proudly displays her finger-painted bowl which the inside wi~h color. with a dry rag. Then she can begin again. also is shown on the opposite page.
APRIL, 1958 19 Poochie arrived at one she liked • . . fingers for decorating (photo 2). The "finger-painting" project may a glazed tile. Apply a thin coating factory for this purpose. The color end with the tile which can be used, of this engobe on the piece to be de- should be ground with enough either framed or unframed, as a trivet. corated, then use the finger paint- medium so that it flows easily and Or the child may be encouraged, as ing technique. can be brushed on evenly. was Poochie, to try, his design on a In this demonstration, however, Poochie then was given an ordinary" larger piece. overglaze color was applied to glazed glazed tile. Using a camel hair brush, When Poochie finished her tile, she surfaces. The teacher prepares the she covered the whole tile with one was confident of both the technique overglaze color, grinding the dry color (photo 1). Practicing ordinary and her design; and she wanted to tD- powder with a spatula in a mixing finger-painting techniques on the tile, something else. She chose a glazed medium. It is advisable to buy the her trial designs can be "erased" bowl on which to car D, out the same medium ready-mixed together with quickly with a dry rag. Other ideas motif, although any glazed ceramic the colors, rather than to attempt to then can be tried out immediately. In object could have been used. mix oil and turpentine. Almost every this respect, this approach is even The procedure for decorating the ceramic dealer carries his own type easier than working with finger paints bowl was the same one used for the of overglaze medium. All are satis- on paper. After several test designs. tile. First she brushed the inside of the bowl with overglaze (photo 3). When she wasn't pleased with her re- suits (photo 4), she wiped the bowl clean with a dry rag, and began again. Although Poochie used the same motif for her bowl, the design was altered. She elaborated on it, includ- ed more units, and adapted the design to a different shape (photo 5). As for firing, the overglaze colors usually mature nicely at approxi- mately 1500°F. for blacks, greens, blues and browns. Reds and yellows usually mature at a slightly lower temperature, from 1300-1400°F. in most instances. If engobes or underglazes are used on green ware, be sure to dry the piece thoroughly before firing. When the piece is dry, bisque fire first; then apply a clear glaze and fire it to the maturity of the glaze. If bisque ware was used for finger painting, make certain it is absolutely dry before you fire it. You may place it in an oven, on a radiator or on top of a hot kiln. Then, when it is dry, follow your usual firing procedures. You may bisque fire the underglaze or engobe first, and then apply the glaze and retire; or the piece may be glazed and fired in one operation. When first working with this tech- nique, especially with children, it is advisable to use a single color until control of the medium and method is attained. Do not attempt to combine different ceramic colors in a single piece until you have had experience. If additional colors are desired later, mix separate batches of color on separate glazed tiles. Apply darker colors over lighter ones. Do not rub separate colors together because they tend to blend, forming a neutral shade of gray. Ceramic colors usually do not combine like ordinary oil paints or temperas. For instance, blue and green combined would not necessarily produce brown. However, with practice, it is possible to com- FINGER-PAINTING TECHNIQUES bring about spontaneous designs like these. A direct and bine several ceramic colors, providing personal form of expression, no brush or tool comes between the child and his work. you make test tiles in advance. •
20 CERAMICS MONTHLY TEACHING TECHNIQUES
YOUNG STUDENTS of Miss Eckhardt carved these pieces from blocks of clay, using the method the author describes below. Miss Eckhardt conducts ceramics classes for children and adults at the Cleveland Institute of Art.
A PROJECT IN CARVING Pottery from Blocks of Clay by EDRIS ECKHARDT
ARVING is a very important concept in sculpture, Such pottery is carved from a solid block of clay, C because from carving the most solid and durable in an upside-down position. The bottom and outside form sculptures evolve. This particular project, which involves is shaped first. Then the piece is turned right side up carving, also is a very useful one. This was how bowls and the inside is carved out. were made before the potter's wheel was discovered. We will not need too many tools since this is a very Primitive people probably drew their inspiration for this simple project. I like to have two pieces of wood the type of dish from scooping out gourds same size or a little larger than the to use as utensils, and carving out piece to be made, a nail file for stones to use for grinding. Both cutting, a hacksaw blade for scraping, gourds and stones are rather irregu- and perhaps a simple wire loop tool lar in shape, as were the tools for scooping out the inside. Such a that were used for hollowing them tool might be made from a wire out. coat hanger or a piece of wire taped So, for this particular project, we to a stick. can look to stones, gourds, pods and The clay block is prepared a day seeds for design inspiration. In ad- or two in advance, covered, and left dition to nature's free forms, the kid- to settle and firm up. Always stand ney and tear drop shapes also are up while you wedge the clay, and very lovely and appropriate for a keep it in a block rather than an carved project. Since this method irregular form. I always wedge a allows us to do some of the modern four-sided block, trying to keep equal foi~ns, it is very adaptable for garden FEW TOOLS are needed for a project in pressure on all four sides. Do not ornaments, bird baths, very large carving. Above are some of the tools the wedge with too much force or you fruit trays, exotic dishes that go on author uses: Fettling knife, ordinary nail file, will split the block. Wedge the clay long low tables, and other shapes to piece of hacksaw blade, and two sculpture for about 10 minutes, but during this be seen from above. tools. Well-wedged clay is a must, too! (Please turn the page) APRIL, 1958 21 ... CARVING FROM BLOCKS
time, check to see if the block is getting too dry. When I am sure all the air is out of the clay, I wedge it into a block similar in size and shape to the piece I want to make--a long, narrow DRAW PATTERN of the block for a long, narrow pot. etc. pottery shape you have Then I wedge the block to the exact in mind. Draw the outside view first, then the inside cir- height as the pot I have in mind. cle which indicates where the Now the block is put away in a pot is to stand. I also draw container that is not airtight in order action or "spine" lines. for it to set up or harden. When the block becomes firm, but not leather hard, we are ready to draw a design on it and proceed with the carving. The first thing you do on this in- teresting block of clay is to draw out the pattern of the pottery shape you have in mind. Draw the outside view, sketching the shape of the lip or the upper edge. The inside circle always should indicate where the pot is going to balance or stand; in other words, CROSS- HATCHED por- the base or bottom. I also draw what tions, representing areas I call action or spine lines of the which are not wanted, are cut away first. Using the nall file, shape. These are the converging lines large sections are cut off at which give you the line of action or one time. Remember to cut movement and help dictate the planes straight down. of your caiwing. This line not only gives you the sense of action of the pot, but also the sense of structure that you are trying to achieve. Wear comfortable shoes while work- ing on a carving project because most of the time, you will be standing on your feet. Standing is advisable so that your arms can swing in rythmic movements while you work. You PLANES of the shape should be above the object you are come into play now. You making at all times, so you can look will notice how some of the down on it. I also might say, at this planes are concave and others point, that newspapers on the floor are convex. Use the loop tool are a good idea. You start cutting to resolve the planes, cutting away so fast, with a nice free move- from the base to the lip with ment, that the chips fly off in all rhythmic strokes. directions. Newspapers can save a messy clean-up job. Now we are ready to begin to carve. Cross-hatch the sections you wish to cut off. Large sections are cut off first, cutting straight down. This will be the outside of your pot. The second step is to bring the planes into play. Some of the planes will be concave; some convex. This makes the shape more interesting. Start re- CONVERGING LINES solving the planes with the loop tool, play an important part cutting from the base to the lip with in the pattern, giving the tri- free, rhythmic strokes. angular direction to the You will notice, in the accompany- masses. Newspapers on the floor are helpful, as you will ing photographs, how the converging notice that this is a messyiab. lines play a part in the pattern. They
22 CERAMICS MONTHLY give me the triangular direction of the masses. To study the three- dimensional effect, cover the form with the second board and invert tile piece. Then, holding it at eye-level, examine the profile of the piece. Tile next step is to draw a line from the base of the piece to tile tip, so that it floats or rises up like STUDYING the three-di- tile bow of a boat. (Should you want mensional effect of the tile piece to be solidly based, you piece is done by holding it would omit this line.) Then do the at eye-level and examining the same thing on the other side. profile from all sides. Use two Flip the piece, using the boards. boards to turn the piece right- and recut the planes on the sides. side-up. Now the old center-action lines are put in again, and the curve is redone. When the piece is turned right side up, we find that it rises gracefully from the base and curves upward. Continue working in this manner until your design looks good from all directions. Then you can begin work- ing on the inside. However. be sure to do all the straightening and ad- justing first because, once you begin DRAW A LINE from the working on the inside it is too late base of the piece to the to change the exterior. tip so it rises up llke the bow Allow the solid form to set up until of a boat. Do the same thing very firm before you begin to carve on the other side of the piece. the inside. When lightly covered, the If you wish a solid base, this piece usually is ready to be worked step may be emitted. with the following day. Carefully draw the inside thickness of the dish. Perhaps you will want it thicker in the back and thinner as it comes up toward the lifted end to give it a sense of lightness there. Draw all this in. You might wish to sketch these lines many times until you are sure you like what you have. With your loop tool, scoop out the center of the form first. As you ap- proach the sides, support tim outside FLIP the piece again, us- with one hand so you will not crack ing the boards. Now re- or strain the wall with inside pressure. cut the planes on the sides. Check to see that the walls remain The old center-action lines are at least ~-inch thick. The bottom put in again, and the curve is redone. can be heavier--3~ to ~-inch--de- pending on the size of the dish. Take care not to dig too deeply into the bottom. I find that many students overestimate the depth of the piece and make the bottom too thin. Scoop out the inside slowly, testing with your thumb and forefinger as vou progress, to avoid straining the walls. The walls should be approximately CONTINUE trimming the of even thickness. Every once in a planes until your design while. 1 suggest that my students shut looks good from all directions. their eyes and just feel their way to Be sure to do all ÷he straight- ening and adjusting at this see if the walls are even. point because, once you have You will notice on my design that begun work on the inside, it the inside of the dish is much rounder is too late to change the ex- (Please turn the page) terior of the piece.
APRIL, 1958 23 ... CARVING FROM BLOCKS
than the outside. This makes an in- teresting variation. Here again, we can use nature for inspiration. If you will look at a nutshell or the shell of a gourd, often you will notice that INSIDE thickness of the the inside will be lighter in weight wall is carefully drawn in. To give the piece a feeling of at the top and heavier at the bottom. lightness in the uplifted end, When finishing your pot, remember you may wish to make the wall that all good pottery has rounded thinner there. Sketch the lines edges. So do not leave knife-sharp many times until you are sure edges on either the bottom or the you like what you have. sides. Such edges chip very easily and are difficult to glaze successfully. Here is an idea that you do not see used too often, yet it works won- ders for rounding edges. When the form is finished, don an old cotton glow'e, the palm and fingers of which have been moistened, and gently stroke the edges of the piece so they become rounded and polished. 0 SCOOP OUT the center Resist the temptation to mold the of the form first, using the loop tool. As you approach form. Do all the work by carving the sides, support the outside and do not try to model by adding with your other hand so you clay or by stretching the piece. What will not crack the walls or you cannot do by carving, don't do! strain them with inside pres- When the form is completed, you sure. Be careful not to make may wish to texture your piece. As the bottom too thin. a rule, texture usually is on the out- side of the object, not on the inside. The inside generally is smoother and lighter in color; the outside darker and more richly textured. The ex- ception is a bird bath. The birds do not appreciate too slippery an inner surface, so you can use some texture or at least a glaze that is not too 1 AN OLD GLOVE works glossy when making a bird bath. wonders for rounding out Glazes for this type of pottery must the edges of pottery. Moisten be kept simple and earthy. Glossy, the palm and fingers of the bright-colored glazes seem out of glove and stroke the piece place here. Matts, vellum matts, gently until the edges have rutile glazes and engobes seem to become rounded. Resist the strike the proper note. temptation to mold the form, About three coats of glaze should add clay or stretch the piece. be applied to the sides, but not to the bottom, of the dish. Usually this means that the glaze must be thinned ii!ilii!i!iiiiiii!i!ill down with water in order for it to !i!ilili!ii;iibe !i! applied properly. The inside of the dish may be glazed with a lighter and brighter-colored glaze -- about five coats. Again let me advise you to stick to the earth tones and colors. They 2 FINISHED PIECE is glaz- are more appropriate on these solid, ed with earthy colors. free-form sculptured shapes. Beware Remember that carved pottery of fancy" decorations or gay, gypsy'- is more closely related to like colors! These forms are more stones in shape, texture and weight than it is to flowers. closely related to stones in shape, Steer clear of gay colors and texture and weight than they are to fancy decorations! flowers. •
24 CERAMICS MONTHLY Strictly Stoneware .. stoneware clay bodies: part five by F. CARLTON BALL
This month, Mr. Ball For Browns: Dark brown concludes his present Medium brown Add Barnard clay 10')/~ series with a discussion Add red iron oxide 2% Very dark brown of coloring clay bodies. manganese dioxide 1% Add Barnard clay 155,~ Recipes for four basic Dark brown Brown-black clay bodies are included. Add red iron oxide 45~ Add Barnard clay 2054 together with a listing manganese dioxide 2% For Browns o/ colorants. Mr. Ball's Warm brown (cone 6) (without Barnard clay): next series will be on Add red iron oxide 65/- Pale brown glazes and glazemaking manganese dioxide 3% Add manganese dioxide 2~ materials.--Ed. Chocolate brown (cone 6) Light brown Clay bodies can be blended for Add red iron oxide 8.0~/: Add manganese dioxide 3% color and texture. When stoneware manganese dioxide 4.591 Medium light brown clays are blended to achieve a beauti- Warm black-brown (cone 6) Add manganese dioxide 4% ful color and texture, the outside of Add red iron oxide 109~ Medium brown a pot made from this clay blend manganese dioxide 69/~ Add manganese dioxide 572 should not be glazed. Usually the Note: At cone 6, the medium Dark brown glaze does not improve the color or brown mixture is a pale gray- Add manganese dioxide 7% texture. brown and the dark brown mix- Black-brown Here are some recipes for colored ture is a dark tan. The other Add manganese dioxide 10% stoneware bodies. All tests are fox three browns are for cone 6 For Orange-Buff Colors: cone i0 oxidation firing unless other- or 7. At higher temperatures Medium orange-buff wise indicated. At cone 6, the tiles they overfire, distort and turn Add rutile 2% are beautiful but lighter in color. black. Medium dark orange-buff Basic Clay Body A For Red-Browns: Add rutile 45f per cent Red-brown (cone i0) Dark orange-buff Plastic China Clay 20 Add red iron oxide 2.55/~ Add rutile 6% Ball Clay 20 Dark buff (cone 6) Very dark orange-buff Flint 20 Add red iron oxide 2.59~- Add rutile 8% Deep red-brown (cone 10) Feldspar 20 Basic Clay Body C Grog 20 Add red iron oxide 5%, Pale brick red (cone 5) per cent For color, add the following color- Add red aron oxide 59~ Plastic Fire Clay 30 ing oxides : '="Medium brick red (cone 6) Natural Red Clay 25 For Greens: Add red iron oxide 7.55/- Flint 25 Pale gray-green ~Strong brick red (cone 6) Grog 20 Add chromium oxide 0.5% Add red iron oxide 10% Color as follows: Medium pale gray-green ~'Dark brick red (cone 6) For Blacks: Add chromium oxide 3% Add red iron oxide 15% Black-brown Medium gray-green ~Note: When these colors were Add cobalt oxide 0.591- Add chromium oxide 6% fired to cone 10, the results manganese dioxide 5.0 91- Gray-green were poor. Black Add chromium oxide 9% For Blues: Add cobalt oxide 0.5% For Blue-Greens: Light gray-blue manganese dioxide 7.0% Medium gray blue-green Add cobalt oxide 0.5% Charcoal black Add cobalt oxide 0.5% Medium gray-blue Add cobalt oxide 1.5~+ chromium oxide 0.55i Add cobalt oxide 15~ manganese Strong gray blue-green Strong gray-blue dioxide 10.0~ Add cobalt oxide i ~i Add cobalt oxide 2c/~ chromium oxide 15~ Very strong gray-blue Basic Clay Body D Dark strong gray blue-green Add cobalt oxide 3?~ per cent Add cobalt oxide 1.59~ Plastic China Clay 30 chromium oxide 1.5c~ Basic Clay Body B Ball Clay 10 For Beauti[ul Warm Grays: per cent Flint 20 Pale gray Plastic Fire Clay 30 Feldspar 20 Ball Clay 20 Add iron chromate 35~ Grog 20 Flint 20 Medium pale gray Feldspar 10 This clay body may be colored as Add iron chromate 6% Grog 20 follows : Medium gray For Yellow-Whites: Add iron chromate 9c~, This body mav be colored as fol- Ivory Medium dark gray lows : Add red iron oxide 0.5~ Add iron chromate 12~ For Browns: Gray-Yellow Dark gray Medium brown Add red iron oxide 1% Add iron chromate 15c~ Add Barnard clay 5q; (Continued on page 34) APRIL, 1958 25 SOMETHING NEW FOR ENAMELERS:
silver plated steel
By NELLY ALLAN
ANEW ADVENTURE awaits the vet. Compared with copper, this me- The pre-cut shapes can be made in- ,-namelist who hasn t tried ena- tal is very strong and eliminates prac- to necklaces, bracelets, drop earrings, meling on silver plated steel. Either tically all of the problems of enamels etc. by drilling small holes and join- opaque or transparent enamels can cracking. In addition, it is very light ing the pieces with links. Jewelry find- be used, but the transparents give in weight which makes it ideal for ings can easily be soft soldered to the beautiful silvery effects. The results jewelry. Like pure silver, no pre- backs of the pieces. are the same as with fine or sterling cleaning is required unless the piece Several enameling methods can be silver, only they are obtained at a is tarnished, and firescale does not used on silver plated steel. But, re- fraction of the cost. form during firing. gardless of the method used, trans- Silver plated steel has been used On the debit side, there are two parent enamels will bring out the extensively in commercial enameling main disadvantages: Pieces cannot white silver background most effec- for compact inserts, mirror backs, be bent or shaped by hand without tively. However, remember to wash cigarette lighters, etc. ; but only recent- damaging the plating; and cutting your transparent enamels thoroughly ly has this metal been made available pieces exposes a raw steel edge which to remove impurities and overly fine to hobbyists. In fact, it is so new that might rust if not protected. particles which can cloud your fin- most suppliers do not handle it. How- Some precautions are necessary ished piece. ever, pre-cut sih'er plated steel shapes when using this metal. Be careful not To wash transparent enamels, place are available from the Thomas C. to overfire silver plated steel. The kiln each color in a separate jar or bowl. Thompson Co., Highland Park, Ill. temperature should be between 1450 ° Be sure to allow sufficient room for These come in a variety of shapes-- and 1500°F., and the pieces should water. Add water, stir the mixture circles, rectangles, squares, ovals, etc. be removed from the kiln as soon as thoroughly and allow the enamel Silver plated steel is made from a the enamel forms a smooth, glassy particles to settle out. Pour off the very low carbon iron, electroplated on surface. Overfiring can produce a cloudy water into another container both sides with a heaxw coat of sil- blistered effect. and set it aside. 26 CERAMICS MONTHLY SILVER CLOISONNE shows off to full advantage when a transparent background is used over silver plated steel. Photos at left show how shaped, silver wires are put in place, and how the enclosures are filled with enamels.
A white scum on the surface of the Mix the desired enamel colors. The "thread and lump" method enamel indicates it is still not com- either transparent or opaques, in small also can be used very effectively on pletely clean. Repeat the washing pro- bottle caps, using enough water to sih,er plated steel. However. ahvays cedure until little or no scum re- form a paste. Using a small spatula use transparent enamels for the back- mains. Three to five washings usually or dentist tools, fill in the shaped ground. Other interesting resuhs may are sufficient. wire with this enamel paste. Dry near be obtained bv applying a transparent One of my favorite techniques in- the kiln: then fire until glossy. "Continued on pa~e 34) voh-es the use of sih,er cloisonne wire. This is a thin, flat wire which is very pliable. It is sold in coils and is avail'- able from jewelry supply finns. Draw a simple sketch for the wire design which will fit into the shape you wish to use. Using small pliers or tweezers, bend the wires into the de- sired shapes. Keep in mind that the wires must stand up and close, so the moistened enamels can be placed in- side the little "fences." I usually clean siher plated steel lightly with fine steel wool, then re- move dust with a tissue. The manu- facturer says it also can be cleaned by brushing with a bristle brush and a water paste of baking soda. After cleaning. I apply a gum solution and dust on transparent enamel. I use a lighter application of enamel for sil- ver plated steel than I do for copper. When the enamel is dry, set on the NECKLACE WITH DANCING FIGURES also shows off silver. A transparent background shaped cloisonne wire. It should stand first is fired on. Then opaque enamel is dusted an, and the excess removed, leaving the design. higher than the enamel. Fire briefly Silver plated steel allows hobbyists to get the results obtained with pure silver at a fraction of (it is better to underfire) ; then cool. the cost.
APRIL, 1958 27 The~ UNDERGLAZE Series demonstrated by MARC BELLAIRE Effective PRINTING
THE BUTTERFLY and PUSSY WILLOW motif utilizes a specific type of decorating stroke--printing. Printing doesn't require any movement of the brush whatsoever. The printed shapes are made by filling the brush and touching its side to the piece, forming the actual print of the brush itself. In this motif, the pussy willows are made with the printing stroke using two colors at the same time. The brush first is dipped into the lighter color; then into the darker shade. The butterflies, done in a single color, are made with a modification of the printing stroke. The brush is touched to the ware, pulled along slightly to elongate the stroke, then raised abruptly The stems of the pussy willow are made with a small liner brush using a straight pull on the brush with varying pressures to create the nodes. Monochrome colors are especially ap- propriate for this moti~yellow with brown tip, pink with purple tip, etc. The spattered background is done with one of the colors. Follow the step-by-step instruc- tions on the opposite page. •
TWO VIEWS of finished and glazed piece.
In this series o[ articles, no specific brand o[ underyjaze is either ~uggested or implied. The national brands are highly competitive in quality and price. Mr. Bellaire's advice is to use those brands you [eel give you the best results.
28 CERAMICS MONTHLY 1. The shape is spaffered with the lighter of the two colors to be used, in this case--plnE. Then the pussy willow stems are sketch- ed in, using a pencil with a dull point. 2. A little underglaze -- purple and pink m is poured into jar lids. The brush first is d~pped into the lighter color. Then the tip is dipped into the darker. 3. Holding the green ware in a comfortable position, the brush is touched down on the shape the base first, then the tip. The darker shade should be placed nearest the stem.
4. Butterflies go in next, using each color separately. The print- ing stroke is modified by pulling the brush slightly after it is touch- ed to the green ware, thereby lengthening the stroke, and pull- ing it up abruptly.
5. The liner brush is used for the pussy willow stems. Use a straight pull on the brush, but vary the pressure to suggest the nodes. Stems are black.
6. The final step is puffing in the fine details on the butterflies and pussy willows. These also are done in black.
APRIL, 19S8 29 ... ,5" 2a Whether you're an (Continued [rom page 10) Subscription amateur or an ex- pert you'll find CM with tin snips, and used the straight edge for the cutting to be a valuable edge. I used pliers to shape the rose petals. source |or ideas and I made my cutters about one inch high and used tape Order in|orma÷ion on pot- (Scotch, adhesive or masking tape will do) to cover the sharp edges and pad the top. I wrapped more of the tape tery and enamels. around the cutter to hold it in place and strengthen it. Order your own per- To make the leaf cutter, I trimmed the edge from a Form sonal coples now[! metal milk bottle cover. I shaped the leaf from this narrow
SEND TODAY CERAMICS rim, then set it in plaster of Paris in an oval cocoa can Ceramics Monthly cover. With this cutter I made notched leaves similar to, 417S N. High St. MONTHLY if not exactly like, rose leaves. I made 86 dozen roses with Columbus 14, Ohio MAGAZINE these cutters, and they are good for many more. --Forence Smith Sutton, Miami, Fla.
Rough Texture NAME For an interesting rough texture, use a high percent- age of grog in the clay. After the piece is thoroughly dry, ADDRESS sponge well until the grog is well exposed. Another inter- esting texture can be obtained by scraping away the grog CITY ZONE STATE with a rib. ---Lee Levy, Levittown, N.Y. [] 1 year S5.00 [] 2 years $9.00 [] 3 years $12.00 Canada and Pan America add 50c per year for postage and service. Foreign add $1.00 per year. Designs from Bottle Caps [] Remittance enclosed [] Please bill me Save those fancy tooth paste and cologne caps and any others that have interesting designs. I use the caps to im- print designs on leather hard green ware, and for textur-
- ~'.:~:~:-. 7g~.._. '~~i~,~Y. ~* -'~-./~-- ,~'~.: --~ . • ~- ...... , .. m z ~...... ing too. Sometimes I use them on a flat surface as stamps for gold designs. Be sure the gold is in the tacky stage though. It's lots of fun. Try it some time! --Ruth I. Wolf, Dayton, Ohio that special arTiCle you have in mind when you have a Binder for your For Square Sides back issues of CM. When drying hand-built slab pieces that you wish to keep true--try placing blocks of wood on all four sides. Of And you can be sure that Holds course, heavy slabs of plaster also would be good if they are the issue you want will be 12 available. Leave the blocks with the project until the clay there ~ the steel blades issues is dry. No more disappointments with warped sides. We hold each issue firmly in always keep a number of 11~ '' x 3" or 2" x 4" pieces of place. The Binder has a wood on hand in 12-inch lengths. This same principle also green cover with the applies when making tiles. To keep them from warping, name plates in gold leaf. , dry between slabs of plaster or blocks of wood. price $3.50 Order one today! --Peg Townse,zd, Tucson, Ariz. (we pay postagel r m m n n n iii | i~ || ,.- ~- llll ii | ~ n-'-.n-j IJ C:eramlosMonthly Studio Helper Jl 4|TSN. HJgkSt. Yes ~ please send me a BINDER A useful tool to have in your studio is a chef's clock | Col.,.b.s, Ohl* |m: "my copies of Ceramics Monthly | or kitchen timer. Set it to remind you to check your kiln or turn off your ball mill. Meanwhile, you can give undi- | Name I vided attention to other necessary jobs. | I --Bim and Doris Newman, North Babylon, N. Y. II Address | I I Dollars for your Thoughts I City Zn~ State B CM pays $1 to $5 for each item used in this column. Send your I bright ideas to Ceramics Monthly, 4175 N. High St., Columbus 14, II I enclose $ s.0d re~;.~co ~;t~o~d.,. Ohio,es;~o~ts odd 3% ~1o,To,. II Ohio. Sorry, but we can't acknowledge or return unused items. ~Lam u~u ~ __ aunmmU ,m, ~--- N--- mU--m ~ u--" m ~ ~m'~J
30 CERAMICS ,MONTHLY AlEnamehncj ~ L ~ J ww,,m,,mn~w,
FIRING ENAMELED DISHES Last month I described Perfo-Trivlts' for firing jewelry. This month we have some- thing brand new to solve the problems when firing dishes. There are several ways to fire an RINGS FOR YOUR FINGERS enameled dish. We use enamel for all kinds of or the strip cut a little longer so that 6 1. You can leave a circle of (i ~ bare copper on back so dish jewelry -- pins, earrings, necklaces, the ends overlap. This then becomes ~ will not fuse to trivit--later bracelets--but we do not make many a ring that is adjustable to any size ~cover circle with felt. At enameled rings. Whv? Two of the ~¢~ best, this is a makeshift finger, and the seam does not hax'e .~.~ method. reasons may be that it is quite an to be soldered. ~ 2. Rest the dish on wire effort to make a good ring, and com- There is a lazy way of making a pointed stilts (this leaves ]~ marks on the back of dish). mercial blanks cannot be used. Only ring too. The rigid ring can be solder- 3. Completely counter- persons who can handle metal pretty ed to the ornament with the un- -,~ enamel and suspend the dish well will attempt to make a ring. soldered seam underneath the orna- i .~ on a trivit with 'wings'. This is the only really satisfac- I know no other reasons whv enamel- ment, so the entire soldering job is i tory method as the dish ed rings are not more popular. done in one operation. This elimi- touches the trivit only at the rim, where there is no Enamel rings can be quite striking. nates one soldering. P" "~ ~¢- enamel. I know, because I have made many. Adjustable or not, the band can There have been several good They also are quite exciting to make. be soft soldered to the ornament after Trivits on the market and we have used them in my classes You can obtain rings in any color it is enameled, or hard soldered to with a certain degree of success. vou desire, and vou are able to match it before it is enameled. Both methods However, there was always one dress material and accessories. Be- make original and novel rings. Yes, problem: if they were not prop- erly locked, the dish would tip sides, enamel rings hold up well. but they are not very precious and over in the kiln. Only an enamel- Rings I have made have emerged also not very durable. Why not dur- ist working day after day with through the years unchipped and able? Because the edges of the en- classes knows the aggrevation both to teacher and student when without a scratch. What more can amel are not protected and, sooner this happens. you expect of an enameled ring? or later, they will chip. How do you There are many ways to make such protect the edges of an enamel piece? a piece of jewelry, and I will try now You put it in a metal setting with to describe some of them. The simplest enough metal around it to protect it way, naturally, is to make the ring from all the abuse a ring normally cigar band fashion. The ornament is exposed to. and band are cut in one piece from Coming up are two good ring sett- heavv copper (see sketch), bent to ings. One is traditional and the other, We have designed a trivit which a very practical one, is a "secret" of eliminates this risk. Here are it's shape, and hard soldered where the exclusive features: ends meet. Then the ring is enameled. mine. For both, we make the enamel 1. Completely adjustable -- any Or you can cut only the ornament first. The piece to be enameled can dish up to 8" (larger models available later). out of copper, bend it to an arch so be cut from light copper, silver or 2. Made of heavy gauge stainless that it fits the finger nicely, and cut gold--24 or 26 gauge or heavier. steel- no flaking or warping. the band from silver (see sketch). Never mind the gauge, and dome it. 3. An ingenious locking device that has no nuts or bolts. The Either sheet silver or silver wire can Enamel it to your heart's desire; but wings lock positively and auto- be used. The ends have to be soldered don't try to imitate a stone. Do not matically in each position. be ashamed to make it look like what 4. Extremely easy to use and completely foolproof. it is--an enamel. Be sure to counter- This new trivit is the result of enamel perfectly: First, for strength two years of experimentation. I and secondly, because the back of the sincerely believe it will solve the dish-firing enamel has to be exposed with the problem completely. first method and can be with the Order your 'COLS- :, ', ', TON-TRIVIT' today-- second, according to taste. i I ii !ml' ;r,, only 6.95 complete File the edges smoothly. Then you with two sets of wings, can start getting in trouble bv making one for small dishes and one for large setting number one--the basic, tra- sizes. ditional one. It is a regular bezel New 112 page catalogue for setting. First cut a strip of thin silver. Jewelry & Enameling-.25 LEFT: "Cigar band" ring in one piece: or take bezel wire about ~-inch wide, RIGHT: Copper enamel ornament with ad- and make it as long as the circum- BERGEn IIRT5 & (RRFT5 justable silver band. 300 S.W. 17th Ave., Miami, Fla, (Continued on page 32) Dept. CM APRIL, 1958 31 BOOS T Enameler's Column (Continued from page 3l) Contact Trinity Your ference of the enamel. Now bend the strip into a ring so the ends meet for Superior SALES tightly, and hard solder. File the seam so no solder shows, and also file what SELL ROCK CRYSTAL STARS, JEWELRY CERAMIC and PORCELAIN NOVELTIES, JEWELRY PARTS, BAROQUE is going to be the top of the bezel GEMS, JEWELRY MAKING and GEM from the outside to the center. Get CUTTING SUPPLIES, MATERIALS and the edges as thin as possible. CLAYS MACHINERY. 25c COIN or STAMPS Now, give this bezel the shape of BRINGS YOU 1/2'" GENUINE ROCK the enamel and start making a lining CRYSTAL STAR AND BULLETIN DESCRIB- ING 240-PAGE CRAFT CATALOG. ASK for it. The lining consists of a strip of FOR FREE BULLETIN. much heavier silver that is soldered to the inside of the setting, but does not come up to the top of it. The COLUMBUS, OHiO Greenware -- Slip -- Glazes -- Underglazes enamel has to sit on the lining, so Sub-Distributor : American Beauty Glazes Dealer: Ez-Flo and Galaxy glazes; Fiesta The Famous leave ~-inch of thin silver at the top Mi-glaze and Wrought Iron Stains ; Tru- Fyre Underglazes KLOPFENSTEIN of the lining. When the lining is Custom Firing (porcelain and ceramic) Instructions in Glazing, Underglazlng, Hand POTTER'S WHEEL soldered in place, the enamel sits on Building it and cannot slip down and when GRA-ZLE CERAMICS Write for FREE information 348 Yarmouth Lane TR 8-3274 H. B. KLOPFENSTEIN & SONS the thin rim is bent down over it, it R.F.D. #2 Dept. A Crestllne, Ohio cannot fall out of the setting. Under- hLW b{,~" x It" Monthly Magazine stand? Well, I hope so! The CHINA DECORATOR "Keramic Studio" style, designs, articles After the lining is soldered in place, for China Decorating. Beginners; Advanced; take a large, half-round file and Studios. Studio discounts. Advertising brir~g- ing wonderful results. $3.75 yr., $7.00 two round out the bottom of the bezel yr. P.O. Box C-36, Pasadena, Calif. Also CHINA PAINTING BOOK $4.25 until it sits nicely on your finger. If NETTIE E. PILLET For Mosaics and Tile you want to, you can use the frame 825 N. Michigan Pasadena, Callfor~ia ILLINI CERAMIC SERVICE now, as it is. But, if you are a per- 439 N. Wells, Ch|cago 10, III. fectionist, as I hope you are in this MOLDS MOLDS MOLDS MOLDS Molds by: AI Schoellkopf, JM Treasures, House case, you aren't finished yet. of Art, Holland, Schmid, White Horse, Creek- MARC BELLAIRE Turn, Coulton, Pieper, Itobby Heaven, Bell, and Will be teaching the latest techniques Solder a bottom--consisting of a Dolly's. in underglaze colors. MAYCO • SYMPHONY $ DUNCAN PRODUCTS piece of sheet silver with a hole cut X-ACTO CERAMIC TOOLS give added skill. MAY 24-26-27-28-29-30 GAY GLAZE-- it enas costly failures. Register early -- classes filling rapidly out in the center--to the setting, Send for literature. JEAN LEONARD leaving only a sort of frame. This DABBLER'S CERAMIC SUPPLIES 96-24 Corona Ave. 15 E. Hartsdale 740 Kearny Ave. Kearny, New Jersey Corona, N.Y. Hartsdale, N. Y. makes the piece look much more com- HA 6-4120 WH 9-4131 pact and precious and takes away r.v ~.vv vvvvvvvvvvvvvvvvv~vvv~ the tinny appearance of an unbacked CERAMICS 4 Mary Grohs Ceramic Decals Instructlon--Supplies--Firing Finished and P.O. Box 34 West Orange, New Jersey bezel. Greenware. Distributor REWARD • DOBE One of the largest decal houses ~n the East The ring band is soldered to the b GLO & WILLOUGHBY PRODUCTS. ¢ Decals & Jewelry sides of the setting and it is up to you HAZEL HURLEY STUDIO ¢ Decal Illustrated catalog 50e 830 Warren Ave. DownersGrove, Ill 4 Jewelry Finding & medallion catalog 25c to invent an endless variety of these Call WO 8-0719 4 Gold & Lustre instruction BooE $1.00 bands. The band is really what SPECIAL: "makes" the setting. The way you Sample pkg. decals $3.00 for $1.00 design the spot where the ring band SEELEV'S CERAMIC SERVICE and ornament merge needs great at- Let us hell) you with your ceramic needs. MOLDS ONLY We have a complete line of school supplies tention. Nothing is left for you to do and equipment : slips, clays, colors, kilns, wheels, tools, brushes, sprayers, pens, and New Retail Price List & now but polish the setting and sna.p books. Free catalogues to schools and ce- Catalog 50e. New Molds ramic teachers: Ceramic-Molds Enameling. the enamel in place. With a very soft PIPER POTTERY touch, burnish down the bezel. Mis- 7 ELM STREET, ONEONTA, NEW YORK 324 Passaic Ave., West Caldwell, N.J. (Continued on page 36) Inquire About Our Mosaic Tile Kits #! includes 3 molds, 5 glazes, grout, ad- hesive, kiln, 24" diam. table, $47.90 value ...... $44.95 #2 As above but without table, $33.1S value ...... $29.95 #3 Same as #2 but without kiln, $13.20 value ...... $12.00 G 10% Handling. Shipping collect Distributor of: Petras Molds, Creek Turn Molds & Glazes, Reward Colors, Mayco Colors, Norman Kilns, Paasche Air Brush, La Fleur Stamps CERAMIC STUDIO WORKSHOP 8027 Frankford Ave. Philadelphia 36, Penna. Dealerships Invited, See Us At Chicago Show FOUR STAGES of the bezel ring.
32 CERAMICS MONTHLY Florence Co.
CERAMIC STUDIO people, places & things 543 Boulevard, Kenilworth, N.J.
GREAT LAKES HOBBY SHOW: The In addition to the classes and demon- Distributor curtain goes up on the 1958 Great Lakes strations, the show will feature material • Tru.Fyre Ceramics Hobby Exhibitio.n and Work- and supply exhibits and a hobby com- • Gloss-Mafic shop on April 24. The show, which will petition with prizes. More than 50 ex- • Willoughby be held at the Conrad Hilton Hotel in hibitors from New York to California • Creek-Turn Chicago, will run for four days-- will man booths at the show. • Renaissance through April 27. The show this year Travel and hotel arrangements can • Specialized Ceramics will featm'e divided hours for the bene- be made through Mrs. La Verne Wood, • Pine Art Brushes fit of those attending. • Double B Wood Novelties 1:3885 McDougall, Detroit 12, Mich. • Jane Snead Publications According to Arthur Higgs, manag- • Gold Erasers ing director, the hours are as follows: ASBURY PARK HOBBY SHOW: • Silk Sponges Thursday through Saturday--register- Deadline for applications for the Ama- • Amaco Pan Paints ed wholesale buyers, 11 a.m. to 1 p.m.; teur Ceramic Hobby Competition, to be • Podeszwa Designs general public, 1 p.m. to 5:30 p.m. and held in conjunction with the Sixth An- • L & L Dyna Kilns 7 p.m. to 10 p.m. Sunday hours--reg- nual Eastern Ceramic Hobby Show at ...... istered wholesale huyers, 11 a.m. to Asbury Park, N. J., is April 24. 12:30 p.m.; general public, 12:30 p.m. The 1958 show will be held May 8-11 to 6 p.m. in Convention Hall. Amateurs through- More than 30 teachers will be on out the country are eligible to enter the Florence Cox hand for classes and demonstrations. contest and may submit as many pieces Included are four CM special contrib- as they wish. However, a separate en- Greenware & firing utors: Mare Bellaire, Edris Eckhardt, try form is required for each entry. Zena Holst and John Kenny. Entry hlanks may be obtained from lo- Price List Others in the exciting group of teach- cal studios, teachers of ceramics or by ers are Zelda Burdick, Justine Brady, mail from the Contest Committee, Ce- Phyliss Cusick, Ella Combs, Lillian ramic Leagues, Inc., e/o Mabel Morris, Czagany, Barbara Fagen, Edna Ferry, 1736 River Road, Belmar, N. J. All 1957 Editi0n... $2.00 Dorothy LaFleur, Lorraine Hensley, work nmst be in the hands of the com- I Alice Hill, N. Hopkins, Richard Hyman, mittee at Convention Hall by noon on I Jenness, Eileen Kane, Lillian Kappeler, May 8...... Kay Kinney, Herman Kleiner, Chula Fourteen categories will be included Kolb, Virginia Lee, David Owens, Isa- in the contest. Among the divisions bel Podezwa, Dodie Raskin, Jay Reed, will be those for children under 12, Stangren, Al Schoetkopf, Madeline teenagers, enameling on metal, and Strackbein, Charles West, Belva Wool- china painting. Savings bonds, trophies sey and the well-known Mexican art- and ribbons will be awarded to the ist, Juan Jose Segura. (Continued on page 35)
For sgramto, incising, slab work, tem- plate making, shaping, modeling, trim. ruing and clean-up. QUALITY: Finest precislon-made scraper points and surglcally-sharp knife blades. VERSATILITY: Slim all-metal handle takes any of 6 scrapers as well as blades. ECONOMY: Points and blades quickly and easily interchanged or replaced.
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No. 63 Double Set: 2 handles, 6 paints, 2 AWARD WINNERS in the recent hobby show sponsored by the Ceramic Art Guild of Fort knife blades . . . $2.75. Other sets at 75c Worth, Texas. Left to right: Mrs. Marvin Shannon, Mrs. Bernice Powell, Mrs. Bobble Todd, and $1.50. Refills available separately. and Mrs. kucille Morris accepting the award for Mrs. Mary Livonius of Denver, Colo. Mrs. Nettie Currle, Mrs. Ferrell Holbrook, and Mrs. Bess Todd. Accepting the children's SEND FOR FLIER--FREE: CATALOG--ZSC award for 8-year-old Colleen Seeley of Oneonta, N.Y., is Linda Whittleseyof. 48-89 VAN DAM ST., L. I. C. I. N.Y.
APRIL, 1958 33 Silver Plated Steel World's fin#st (Continued from page 27) TILES background; then firing briefly. Next, For Decorating Superb English Tiles, bisque or glazed, dust on a contrasting color of opaque 6" x 6", the~re perfect for pleasure . . . or profit. enamel. With a fine sable brush, re- ALSO AVAILABLE • TRIVETS, black • WOODEN move the surplus opaque enamel, iron, rubber-foot- FRAMFAS leaving a design. (See photo of neck- ed, for i and 2 • TILE BACKS and tiles HANGERS lace with dancing figures.) The gri- $ WROUGHT IRON FRAMES saille method, raised enamel on a Write ~oT FREE Descriptive transparent background, also produces Price List No. C4 a stunning effect on this metal. SORIANO CERAMICS, INC. Sih'er plated steel is not being sug- Long" Island City 5, N. Y. Send for gested as a substitute for pure sil- FREE copy of the latest ver. There is no substitute for the in- Special Discounts herent beauty of a precious metal! CRAFTOOLS CATALOG of If you teach ceramics, you are entitled Neither does it give the same shim- to teaching discounts. Write us on your ceramic equipment and tools. mering effect of silver foil. But it does school or studio stationery for special CRAFTOOLS, Inc. open a new world to the hobby ena- Teacher's Price Lists. Enclose 3c stamp. Dept. CM 396 Broadway, New York 13, N. Y. Buffalo Ceramic Supply Center melist, and to many experienced 437M Franklin St., Buffalo 2, N.Y. craftsmen, who cannot afford the ex- Duncan's E-Z Flow • Paragon Kilns • China Paints, Brushes, Sponges, Tools, pense of the precious metal and who Molds, Porcelain Slip, Clays, Art find working with foil too "tricky." Books • Large Selection of Greenware But, with the limitations stated, you FRANCOISE CERAMICS can enjoy the beauty of the white 113 - 49fh St. So. St. Petersburg, Fla. Tel. DI-335S2 No Catalog metal gleaming through a transpar- ent enamel; and siher plated steel
In FLORIDA it's will add a new dimension to your ena- SUNNY'S CUSTOM CERAMICS meling repertoire. • Buy BUELL KILN KITS Manufacturer's Representative for and build your own, at CERAMICHROME PRODUCTS low east. Easily assem- Dealer Inquiries Invited Strictly Stoneware bled at home. Safe, of- Complete line of ceramic supplies fieiont, low operating (Continued from page 25) .ost. Plugs into any Wholesale-Retail. Air Conditioned Studio A0v double outlet. 1403-5 N.W. 7th Ave. Miami, Fla. Nr it e for literature PL 4-540! These bodies are excellent for ce- and "Quostione & An- ramic sculpture for the colors can swers on Kiln Build- Ing." C. M. BUELL Complete Supplies be beautiful and the texture out- KILNS, Box 302, Royal Oak, Mich.. Tel. Li. standing. No glaze is necessary. The ~ 2-4258. MOSAICS • CERAMICS colors and bodies were created espe- COPPER ENAMELING cially for tile work where a variety Thurston Studio of harmonizing earth colors is desired. KINGSPIN Steel Wheel 3327 N. High St. Columbus 2, Ohio Beautiful tile mosaics with clay-like Steel Top and Bottom texture and color may be made with Kinalloy Bearing these bodies. Knurled Stem These clay bodies also can be nsed Zinc Plated Rust Proof NORWEST NOVELTY 0 N L Y $2.95 32480 NORTHWESTERN HWY. for coil building, slab building and /M FARMINGTON, MICH. drape molding; but in general, they IAberal Dealers Discounts MA. 6-6003 will not work well for throwing. More Also available with ('asl Aluminum Head $3.95 Distributor for Re-Ward Products of the plastic clays must be added See your Dealer or Distributor or write Gilmour Campbell ~ Dept. C-4 Open Sunday--Closed on Monday in place of flint and grog for a col- 14258 Maiden Detroit 13, Michigan ored throwing body. The percentages of color, however, will be a good ART-CRAFTS SUPPLIES, INC. guide for coloring other bodies al- Distributor for though the colors will vary depending eramlc Paragon--Duncan--Drakenfeld Materials and Equipment upon the ingredients of the body and Craffool~Bergen Brush--Hotpaclc Kilns SPECIAL PREPARED BODIES Perma-stain--Bee Basch and Lauer Molds the temperature to which it is fired, e General Ceramic Supplies Our business has been expanded to in- clude all types of clay bodies--varied col- 180 NW. 62nd St. Miami, Florida ors for sllp-casting, throwing and sculpture. Cones 06 to 8 (art ware and stonewarel. NEXT MONTH . . . Write for special clay sheet. OPPI UNTRACHT will describe how OUR AIM |S QUALITY Edith Heath enhances her textured JACK D. WOLFE CO., INC. pottery with glazes. The article also 62 Horatio St. N.Y.C., N.Y. will feature a personality sketch of (WA 4-6019) Wholesale and Retail Mrs. Heath.
ZENA HOLST will be back, giving help- ful hints on the application of lustres. Remember And man)* more interesting features. to mention Ceramics Monthly to suppliers
34 CERAMICS MONTHLY Ceram-Activities (Continued [rom page 33) winners; and they will receive national bill of Coconut Grove, for a stoneware recognition for their work, according cookie jar with a sgraffito design; and to Jerry Gasque, managing director. Melvin H. Casper of Merritt Island, Each morning, before the opening of for a bottle with a brown glaze. Rooster Penguin. the show, special classes will be con- and Duck Heads, Salt and Pepper ducted by some of the country's lead- Salt and Pepper ~435, 3"H. $4.50 ~439, 3"H. $4.50 ing teachers. Some of the instructors SOUTHWEST HOBBY SHOW: The are Mare Bellaire, Dick Belash, Lueille Sixth Annual Ceramic and Hobby Henderson, Alice Hill, Lillian Kappeler, Show, sponsored by the Southwest Ce- Molds for 20 Isabel Podeszwa, Stangren, Charles ramic Association, will be held April new items from West and Belva Woosley. Persons wish- 10-13 at the Temple Club, 944 Corinth ing to enroll in these classes should original Lud- Street Rd., Dallas, Texas. The show will wig Schmld contact Mrs. Christine Casey, 17 be open daily from noon to 9:30 p.m. Models in Bridge St., Chatham, N. J. Admission is free, and door prizes PROFESSIONAL EXHIBIT: A new will be given. Trophies and cash awards stock. feature of the 1958 Eastern Ceramic will be presented to winners of the hob- Hobby Show to be held May 8-11 at I by competition. Visit our booth I Asbury Park, N. J., will be a profession- at the Ceramic S h o w, Asbury al ceramic exhibit. Poodle, modern Park, N. J., The members of Ceramic Leagues, KANSAS HOBBY SHOW: The Wit- _~432, 7"H. $10.50 May 8-I1. Inc., sponsors of the show, felt that a chita Ceramic Art Society will spon- I great service would be rendered to the sor its second annual hobby show industry at large as well as to the April 18-20, at the Kansas National Complete catalogue and Price List, studio owners and teachers through- Guard Armory, 620 North Edgemoor, $1.00, refunded with first mold order. out the country by providing exhibi- Wichita, Kansas. tion space for professionals to display Three large rooms in the armory will their work. be devoted to commercial exhibits, com- Uniform cards, giving complete in- petitive exhibits, and classrooms and formation, will identify each piece. En- demonstrations. Continuous free de- tries may be marked for sale if the monstrations are planned throughout exhibitor desires. However, no entries the course of the show. The competi- will be delivered to buyers until the tive exhibits, in both amateur and pro- close of the show. Since many visitors fessional classes, will feature cash to the show in previous years have ex- awards and ribbons. Morning work pressed a desire to take home a fin- classes also are scheduled. ished piece, it is expected that much Show hours on April 18 and 19, will of the work submitted will find ready be from noon to 10 p.m.; and from noon buyers. to 8 p.m. on April 20. The annual Certificates of merit will be award- Awards Breakfast will be held on April ed to each entry accepted. Profession- 20. V. A. Mueller, M. D., is 1958 show ARE YOU als who wish to participate in this ex- chairman. hibit may obtain rules and entry blanks from the Chairman of Professional Ce- NEW FILM ON MOSAICS: The first ramics Exhibit, Middieton Ceramic BUMFUZZLED? Studio, 519 Rutgers Ave., Hillside, documentary film tracing the relation- ship of mosaic art to architecture from New Jersey. the earliest civilization down to the present time recently was released by RELAX!?? FLORIDA CRAFTS: Fran Williams of University Extension of the University ALL YOU NEED IS A HOBBY Miami, recently captured the top prize of California, Los Angeles. in ceramics at the 7th Annual State Called "The World of Mosaic," the Your best headquarters for: 16 ram. color film condenses 4,000 CERAMICS years of mosaic history into 28 minutes. Three years in the making, the film COPPER ENAMELING was produced by Prof. Ernest Rose in & MOSAICS BY TYLART co-operation with the department of Theater Arts. The writer-director of the film was N. H. Cominos, and motion IS picture star, Richard Widmark, serves as narrator. For information about purchasing or renting this film, write Educational (the house of glazes Film Sales Dept., University Extension, the usual and unusual) University of California, Los Angeles 24, Calif. 8744 W. McNichols, Detroit 21, Mich. Phone UNiversity 2-9222 TOP AWARD in ceramics at the 7fh Annual SCHOLARSHIPS AVAILABLE: Se- Manufacturers of: State Croft Show of the Florida Craftsmen veral tuition scholarships of $500 are VELVA-PLY--the best ceramic was given to Fran Williams of Miami, for available in ceramics, sculpture and glaze. SWISH--the nan-smoking painting from the Silvermine Guild her abstract earthenware tiles. binder for copper enameling that School of Art. High school and college eliminates all pre-cleaning. Dis- graduates are eligible for the scholar- tributors for: KINGSPIN DECO- Craft Show of the Florida Craftsmen. ships, but applications must be in by RATING WHEELS. Her abstract of mounted earthenware June 1. For information, write to the Write Dept. CM--4 for prlce~ tiles is illustrated. Silvermine Guild School of Art, New and list of other products. Other award winners are Mary Gra- Canaan, Conn.
APRIL, 1958 35 Enameler's Column h CRAFTS VACATION (Continued /ram page 32) sion accomplished, you can be proud of yourself. Honestly! April 1958 in Vermont Now for my "secret." You will have FLETCHER FARM CRAFT SCHOOL American Art Clay Co ...... 5 LUDLOW, VERMONT found out by now that they are al- ways quite simple, these secrets of Art-Crafts Supplies ...... 34 ,June 30-Aucjust 22, 1958 B & I Mfg. Co ...... S Two week courses in Ceramics, mine. Trace the outline of your en- Jewelry Decoration, Weaving and anlel on a piece of sheet silver. Then, Basch, Bee, Designs ...... 7 other craffs.--Write for catalog to: on the outside of the tracing, add Battles Decals ...... 36 Society of Vermont Craftsmen, inc. another line about ¼-inch from your Bergen Arts & Crafts ...... 8, 31 Dept. 3 Bristol, Vermont original tracing, and cut on this line. Bergen Brush Supplies ...... 32 Buell Kilns ...... 34 Now draw lines from the outside to Buffalo Ceramic Supply Center .... 34 the center so you get a sort of sun- burst frame around a solid center. Campana Art Co., D.M ...... 36 Model Ceramics Cut small wedges between these radii. Campbell, Gilmour ...... 34 Ceraml Center ...... 10 The sketch will make the situation MANUFACTURERS OF: Ceramlchrome Laboratories .... S lnuch clearer to you (I hope). Ceramic Studio Workshop ...... 32 Kilns When the stmburst is cut, file the Cox, Florence, Ceramic Studio ...... 33 edges of each ray slnooth; and with Craftoo!s, Inc ...... 34 Clay a pair of small, round-nosed pliers, Creek-Turn Pottery ...... 11 curl trader each ray until an even, Slip Dabbler's Ceramic Supplies ...... 32 round rinl is fornmcl around the first Duncan Ceramic Products ...... 4 Write for Catalog--Wholesale & Retail tracing. Eastern Hobby Show ..... Cover-3 764 N. MAIN ST. AKRON, OHIO Now, repeat the sunburst, only Re-Word Distributor make tim rays shorter and cut a hole Francolse Ceramics ...... 34 in the center. Bend the rays up and Gra-zle ...... 32 solder this piece to the first piece. Great Lakes Exhibition ...... Cover-2 Now solder on the band into the hol- Grleger's lnc ...... 32 low formed bv the curled-in rays of Grohs, Mary, Decals ...... 32 lhe first part. And there we are! Harrison, the Kay, Studios ...... 35 Harrop Ceramic Service ...... 9 Holland Mold Shop ...... 10 Hommel, O ...... 7 House of Ceramics ...... 11 CERAMIC DECALS MADE-TO-ORDER. For Hurley, Hazel, Studio ...... 32 firing on any ceramic surface--including enam- %# eled copper. Drawings, poems, prayers, sayings, IIlini Ceramic Service ...... 7, 32 emblems, trade marks, signatures, etc. etc. Anything that can be photographed, including FIVE STAGES of the sunburst ring. Klopfensteln Wheels ...... 32 portraits, buildings or scenes. One color rendi- tion, One or many decals. Send for our free booklet which gives full details. Polish it, plact' the enamel into the L & L Mfg. Co ...... 2 Leonard, Je,=n ...... 32 BATTJES PHOTOCERAMIC DECALS nice base forlned by the bent up rays 1453 Lyon St. N.E. Grand Rapids 3. Mich. of the second piece, and curl these Master Mechanic Mfg. Co ...... 11 under over the enamel so they serve Mayco Colors ...... 7 Model Ceramics ...... 36 as prongs to hold it in the setting. Monitor Tool and Finding Co ...... 11 There now, that gives you three basic ideas to have fnn with. Now you Norwest Novelty ...... 34
can use your inmgination to develop Pieper Pottery ...... 32 The following back issues of Ceramics Monthly are still available at sixty cents and vat T thein to create your own Pillet, Nettle E...... 32 per copy (Ohio residents add 3% sales tax). We pay postage. enameled rings. • Re-Ward ...... 1 1953 July, August, October, l)eeember 1954 Schmid, Ludwig, Molds ...... 3S February, March, July, August, Sep- Correction Seeley's Ceramic Service ...... 32 tember, November, December 1955 The recipe /or Glaze C-8 in Tom Soriano Ceramics ...... 34 May, July, August, October, November, Sellers' article, "'Celadons at Cone 04," Sunny's Custom Ceramics ...... 34 l)ecember in the February issue contained a typo- 1956 May, June, July. August, Octol)er. graphical error. The correct recipe Tepplng Studio Supply Co ...... 34 l)ecemher it re-printed below: 1957 Thompson, Thomas C., Co ...... 3 April, May. June, July, August, Sep- Glaze C-8--Opaque light blue, Thurstor. Studio ...... 34 tember, October, December striations of glossy green: 1958 THnity Ceramic Supply ...... 32 February, March per cent Please send remittance (check or money Frit: Ferro 3134 or Vermont Craftsmen, Society ...... 36 order) with list of back issues desired. O. Hommel 242 ...... 57.07 CERAMICS MONTHLY Frit: Ferro 3396 or Wolfe, Jack D., Co. Inc ...... 34 4175 N. High St. Columbus, Ohio O. Hommel 648 3.75 Kaolin ...... 25.35 X-Acto, Inc ...... 33 Flint ...... 13.83 SAY YOU SAW IT I00.00 in Ceramics Monthly Add Reduction Mix ...... 3.30
36 CERAMICS MONTHLY THE SIXTH ANNUAL EASTERN CERAMIC HOBBY SHOW of 1958 CONVENTION HALL ASBURY PARK, N.J. MAY 8-11
Show Hours: 1 P.M. fo 9 P.M. every day
HOBBYISTS! DEALERS! CERAMISTS~ Don't fail to personally meet and chat with these national leaders of the Ceramic Hobby industry at the East- ern Ceramic Hobby Show.
Alberta's Ceramic Studio Ceramics Monthly Sybil Garvin Ceramics Lorraine Ceramics Mary Reed Pottery South Pasadena,Calif. Columbus, Ohio Portland, Conn. Gardena, Calif. Pleasantville, N.J. Anday Ceramic Studio Chuck's Ceramic Studio Gene's Ceramics Marlene's Regina Ceramic Art Sea Girt, N.J. West Hartford, Conn. Singac, N.J. Linden, N.J. Studio Arts & Crafts Monthly Chula's Ceramic Studio Mary Grohs Decals Marx Brush Mfg. Co. Newark, N.J. Detroit, Michigan San Antonio, Texas West Orange, N.J. New York, N.Y. Re-Ward Ceramic Color Bee Basch Designs Christine's Ceramic Winona Hale Maryland Ceramic House Mfgrs., Inc. Englewood, Florida Studio Fort Worth, Texas Baltimore, Maryland Los Angeles, Calif. Bell Ceramics, Inc. Long Beach, Callf. Hobby Heaven Ceramics National Artcraft Supply Ludwig Schmid Model & Morris Plains, N.J. Florence Cox Ceramic West New York, N.J. Co. Mold Shop Bergen Brush Supplies Studio Holiday House Cleveland, Ohio Trenton, N.J. Lyndhursf, N.J. Kenilworth, N.J. Crofdon, Pa. Newell Studios AI Schoe/Ikopf Bo-Peep Pottery Creative Art Ceramic Holland Mold Shop IngIewood, Calif. New Castle, Po. Berlin, N.J. Studio Trenton, N.J. Norman Ceramics Ca., Shell Craft Hobby Shop Byrne Ceramic Supply Co. Chatham, N.J. Hollywood Ceramic Inc. Ocean Grove, N.J. Ledgewood, N.J. Creek Turn Pottery Studio Mamaroneck, N.Y. Arden Shorter C & E Ceramics & Gifts Hainesporf, N.J. Portland, Oregon Norris Ceramic House Dallas, Texas Dallas, Texas Dolly Ceramics House of Art Dallas, Texas Specialized Ceramics C V H Color Laboratories Clifton, N.J. Little Silver, N.J. Cakes Ceramic Studio Corp. West End, N.J. Duncan Ceramic Jurene Ceramics Melrose, Mass. Pralnfield, N.J. Carol Ann Ceramic Products, Inc. Copley, Ohio Olevia Ceramics Starola Ceramic Studio Fresno, Calif. Kay The Potter Binghampton, N.Y. Sioux Falls, South Dakota Freeport, N.Y. F & S Ceramics Dana Point, Calif. Pemberfon Neal Ceramic Dorothy Streefer Studio Ceramic Colors, Inc. Phoenixville, Pa. L & k Manufacturing Co. Supplies Providence, Rhode Island Los Angeles, Calif. Fine Art. Brush Co. Upland, Pa. Bellflower, Calif. Sylvia's China Studio Ceramicorner Carlsfadt, N.J. La Fleur Studio Pieper Pottery Klamath Falls, Oregon Azusa, Calif. Forvour-Morrow Whitestone, N.Y. Caldwell, N.J. Thalla Ceramics Ceramic Studio Workshop Halnesport, N.J. Jean Leonard Ceramics Popular Ceramics Lynnhaven, Virgin~o Philadelphia, Pa. Garden State Corona, N.Y. Los Angeles, Calif. Annie Y. Warner Ceramic Workshop Ceramics, Inc. The kerhaupts Porcelain Button Beauties Richmond, Virginia Sfewartsville, N.J. Rochelle Park, N.J. Asbury Park, N.J. Trenton, N.J. White Horse Mold Co., Ceramichrome Gare Ceramic Supply Co. Ann Liebau Radiant Ceramic Corp. InCa Los Angeles, Calif. Haverhill, Mass. North Arlington, N.J. Trenton, N.J. Trenton, N.J.
CONY E N rIo N HALL A ~ ~ U ~ Y PARK. N J PHONE P~OSP£CT 5 - ~ 9 0 0: 6 , ~ 2 6 ~" 2 NEW BOOKS REVRIEWEDand ECOMMENDED BY THE CM BOOK DEPARTMENT Here are two brand-new books on two very popular subjects; clay and glazes and enameling on metal. Each title is written by an expert in the field. These are wonder[ul books of instruction as well as authoritative re[erence sources. Both o[ these latest additions to the CM Book Department are sold on a money-back guarantee and o[ course CM pays the postage.
CLAY AND GLAZES FOR THE POTTER,by DANIEL RHODES, is ENAMELING ON METAL, by OPPI UNTRACHT, is an excellent two complete books in one! CLAY includes all funda- addition to the existing literature. Although it covers mental details (origin, chemical and physical nature, kinds, preparing, drying, firing, etc.) and also practical fundamentals, it excells in its descriptions of advanced information on formulating, blending, adjusting, colors, techniques. The step-by-step photo method is used to textures, earthenware, stoneware, porcelain, etc.,-- describe champleve, cloisonne, limoges, plique a jour, with recipes. GLAZES is also covered completely: basic theory and fundamentals, originating and calculating basse taille, grisaille, etc., and also newly developed and recipes, frits, textures, colors, blending, application, experimental techniques. Projects include jewelry, bowls, firing, flaws, cures, reduction firing, special glazes and plates, mosaics, table tops, 3-dimensional sculpture, etc. effects--and much more. It is all in non-technical language. A must for every hobby-craftsman, student, Profusely illustrated, the work of more than 40 con- teacher and potter. Illustrated. $7.50 temporary enamelists is shown. 87.50
CERAMICS MONTHLY BOOK DEPT. I 4175 N. High St., Columbus, Ohio I Please send me: --copies of CLAY and (]LAZES for the POTTER I! @ $7.50 per copy. I ! PLACE YOUR ----copies of ENAMELING ON METAL t @ $7.50 per copy. t ! ORDER HOW NAME I ADDRESS I ... immediate delivery from stock. CITY ZN STATE Use this handy order form. ~ Ohio Residents: Add3% Sales Tax. CM pays postage. _ l enclose [~Check F]Monev Order []Other ...... " ......